PS 3089 
■T33 M5 
Copy 1 



COPYRIGHT, 1889, BY HAROLD ROORBACH 


3k00t‘l)flri/S full Orsm'ptlbc ©atalofluc of Dramas, Comedies, Comediettas, Farces, 
Tableaux-vivants, Guide-books, Novel Entertainments for Church, School and Parlor 
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BOORBACH’S AMERICAN EDITION. 


PRICE, 15 CENTS EACH. 

This series embraces the best of plays, suited to the present time. The reprints have 
been rigidly compared with the original acting copies, so that absolute purity of 
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incidents, complete lists of properties and costumes, diagrams of the stage settings 
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somely printed from new electrotype plates, in readable type, on fine paper. 
Their complete introductions, textual accuracy, and mechanical excellence render 
these books far superior in every respect to all editions of acting plays hitherto 
published. 

:. ALL THAT GLITTERS IS NOT GOLD. A comic drama in two acts. Six 

male, three female characters. Time, two hours. 

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characters. Time, two hours. 

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jj>TABMAN No. 93. A farce in one act. Two male, two female characters. 
Time, iorty minutes. 

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6 . PARTNERS FOR LIFE. A comedy in three acts. Seven male, four female 

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characters. Time, forty-five minutes. 

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Time, two hours and twenty minutes. 

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Time, two hours. 

A. PRETTY PIECE OF BUSINESS. A comedietta in one act. Two male, 
three female characters. Time, fifty minutes- 

16. LEND ME FIVE SHILLINGS. A farce in one act. Five male, two female 
characters. Time, one hour. 

17. UNCLE TOM’S CABIN.—Original Version. A drama in six acts. Fifteen 
male, seven female characters. Time, three hours. 

18. UNCLE TOM’S CABIN.—New Version. A 'drama in five acts. Seven 
male, five female characters. Time, two hours and a quarter. 

19. LONDON ASSURANCE. A comedy in five acts. Ten male, three female 
characters. Time, two hours and three quarters. 

20 - ATCHI ! A comedietta in one act. Three male, two female characters. Time, 
forty minutes. 

21. WHO IS WHO ? A farce in, one act. Three male, two female characters, 
l ime, forty minutes. 

22 • THE WOVEN WEB. A drama in four acts. Seven male, three female char¬ 
acters. Time, two hours and twenty minutes. 

i £ff*Any of the above will be sent by ma il, post-paid, to any address, on receipt 
of the price. 

HAROLD R00R3ACH, Publisher, 9 Murray St., New York. 



MISS MADCAP 


A COMEDIETTA IN ONE ACT 


BY 


CHARLES TOWNSEND 


Author of “border land," “the woven web,” “rio grande," “sub rosa," 
“early vows,” “only a tramp,” “deception,” “on guard," “won¬ 
derful LETTER,” ETC, 


Author’s Edition, with the Cast of the Characters, Time 
of Representation, Scene and Property Plots, Dia¬ 
gram of the Stage Setting, Description of the 
Costumes, Sides of Entrance and Exit, Rela¬ 
tive Positions of the Performers, Explana¬ 
tion of the Stage Directions, etc., and 
all of the Stage Business. 


Copyright, 1890, by Harold Roorbach, 



HAROLD ROORBACH 

PUBLISHER 


NEW YORK 











' 






I 




<0 

V) 










MISS MADCAP. 

CAST OF CHARACTERS. 








Philip Conway . Juvenile lead. 

Augustus Everson. Light comedy. 

Clara Vincent.. Juvenile light comedy. 


Time of Representation—Twenty Minutes. 
i SCENERY. 


Interior Backing 



Scene.— Parlor in country house, in fourth grooves. Interior backing; 
doors C. in flat and r. i e. Closed in; sink, ceiling; carpet down ; small 
table R., with pens, ink and paper; handsome chairs R. and L. ; window 
L. U. E., with curtains; pictures on walls. Sunlight effect at window. 

N. B. A set scene is not essential, and may be dispensed with if 
preferred. 


COSTUMES, PROPERTIES, ETC. 

Philip.— Age, 21 ; dark suit; derby hat; character, good-natured and 
lively. When personating the “ tough ” wears hat pulled down over eyes, 
puffs big cigar, and swaggers about in “ Bowery ” style. Has flat bottle 
in pocket. Be careful to avoid overdoing the drunken scene. 














6 


MISS MADCAP . 


Clara. It’s awful, so it is! Mean ! mean! ( stamps close to Phil) 
mean! 

Phil. ( limping as if trodden on) Jerusalem ! Don’t walk all over 
my feet like that 1 What is the matter, anyhow ? 

Clara. Aunt Charlotte is dead. 

Phil. Peace to her—tongue. 

Clara. And has left me her property. 

Phil. Sensible woman. 

Clara. On condition that I marry Augustus Everson. 

Phil. Oh, the deuce ! 

Clara. Worse. He’s a dude. 

Phil. Who is he ? 

Clara. A sort of cousin. You know that my aunt always opposed 
our marriage. 

Phil. Because, when I was a kid, I curried my dog with her false 
teeth. 

Clara. So she hit upon this plan to separate us. If I refuse to 
marry Augustus he gets all the property. 

Phil. And if he refuses? 

Clara. I get it. 

Phil. Good. Make him refuse. 

Clara, flapping her hands ) Splendid ! 

Phil. I’ll punch his head. 

Clara. No, no. We must think of something else. 

Phil. Then yon punch his head ! 

Clara. No, no, no! [pause) Oh, I have it! 

Phil. What—his head ? 

Clara. Stupid ! no ; an idea. 

Phil. How does it feel ? 

Clara. You will find out—if you ever have one. Now listen. I 
will pretend to be a “ tomboy ” and scare the poor fellow into 
refusing me. 

Phil. Stupendous ! Can I help ? 

Clara. Certainly. You shall be a—a—a what is it? 

Phil. Well I just won’t ! 

Clara. Won’t what? 

Phil. Be a “ what-is-it.” I’m no freak! 

Clara. Oh dear! I didn’t mean that. I’ll tell you what. Pre¬ 
tend to be a New York “tough”—a rowdy you know, and all 
that. 

Phil. Immense ! I’ll rig up and paralyze him N 
Clara. And so will I, if you will post me. Oh, won’t it be fun ! 
Voice of Augustus. ( outside , D. F.) All wight. I’ll find her, 
don’tcher know! 

Clara. Oh, Phil! There he is now ! 

Phil. Vanish! Disappear! Now mind your p’s and q’s. 

Exit R. 


MISS MADCAP . 


7 


Clara. All right. Oh, won t it be fun ! Exit R. 

Enter, AUGUSTUS, D. F. 

K 

Aug. Aw — weally—begpawdon, don’tcher know, [looks about) 
Nobody heah ? That’s vewy odd, bah Jove, [natural voice) 
There. If that sort of talk and this sort of dress don’t make me a 
“la la,” nothing will. I suppose that my cousin is an awkward, 
gawky country girl, who will be disgusted at the sight of me. 
Then she will refuse to marry me, and, ergo , the property is mine. 
Ah, [listens) someone is coming. Now for the dude, [assumed 
tone) Ya—as, indeed, don’tcher know. 

Enter, Clara, r. 

Clara. Hello! Look at that! Oh mamma! Buy me one! 
Johnnie get your gun, get your gun ! 

Aug. (l.) Aw —beg pawdon. Me name is not Johnnie, and I 
have no gun. 

Clara. Poor fellow. Oh you dear, sweet birdie, what is your 
name ? 

Aug. Augustus Everson, bah Jove, and I wish to see Miss Vin¬ 
cent. 

Clara. Really ? 

Aug. Ya — as. I thought she was heah. Pawhaps she has seen 
me, and is quite pawalyzed by me shape, don’t cher know. Ya—as 
aw—powahful idea. 

Clara. Well, sissy, I’m Miss Vincent. 

Aug. Weally ? [aside, ?iatural voice) The devil you are ! 

Clara. Yes indeedy. I’m that sweet little rosebud. Tremen¬ 
dously awful glad to see you. Shake ! [grasps his hand and pulls 
him about) 

Aug. Oh my! Hold on! Let go! [she releases him) Bah 
Jove! You’re quite awful, don’tcher know. You have weally a 
howable gwip. 

Clara. Bet your sweet life. I’m a daisy from the hill top, I am. 
And so you’ve come down to marry me, eh? 

Aug. And aw—aw you weally Miss Vincent? 

Clara. I should twitter. 

Aug. Good gracious sakes alive ! 

Clara. We’ll have jolly times. Do you smoke ? 

Aug. Aw—ya—as ; cigawettes. 

Clara. Cigarettes! Stuff. Now / prefer cigars—and strong 
ones, too. 

Aug. Good gwacious ! 

Clara, [aside) Dear me! Can he stand that? 

Aug. Do you weally mean to say that you smoke ? 

Clara. Do I ? Wait till you see me once. 


8 


MISS MADCAP. 


Aug. Good gwacious! But aw— I hope you do not smoke a 
pipe—at least a clay pipe. 

Clara, [aside) The idiot! He believes it all! [aloud) Only 
when I’m out with the boys. I have to keep up with the parade, 
you know. 

Aug. Keep up with the pawade? What a howid idea ! 

Clara. Ha, ha, ha ! I say, birdie, we’ve lots of horses. Do you 
like riding ? 

Aug. Aw—weally, I cawn’t say. 

Clara. Let’s have a gallop. You shall ride Old Nick—that’s 
Phil’s horse. He can kick the roof off a meeting house ; but he 
gets there just the same./ 

Aug. I’m getting faint. Allow me to sit down, Miss Vincent. 
[sits) I feel quite weak, don’tcher know. 

Clara. Poor sissy ! 

Aug. Ya—as. Me valet got dwunk last night, so I had to 
dwess meself this mawning, and also tie me own necktie. 

Clara. How awfully awful! 

Aug. Ya—as. It was dweadful, quite dweadful you know. It 
quite used me up. And to cap the climax I had to pawfume me 
own handkerchief; and by some hawable mistake I selected 
“ attah of woses” when I meant to use “new mown hay.” 

Clara. Shocking ! 

Aug. Ya—as indeed. The shock was vewy gwate. 

Clara. Let me get you a bracer. 

Aug. What’s a bwacer? 

Clara. Rum, gin, whiskey. Anything to knock out the razzle 
dazzle. 

Aug. Thanks awfully. But I cawn’t dwink such stuff, don’t 
cher know. 

Clara. What do you drink ? 

Aug. Usually a small glauss of lemonade, pawfumed with a few 
dwops of vanilla aw bugamont. 

Clara. You must have some dreadful sprees. 

Aug. Aw—ya—as. I’m one of the boys. Why, you may not 
believe it, but I sometimes actually smoke as many as thwee or 
fouah cigawettes in a single day. 

Clara, [aside, wearily) Oh dear ! What shall I do with him ? 

Aug. Ya—as. Ana I play pokah too, I do. I lost fifteen cents 
one night. 

Clara, [slapping his back) You’re the stuff! We’ll make Rome 
howl. I’ll have a gang of the boys up here every night, and we’ll 
play poker till daylight. Some of them may get fighting drunk, 
but never you mind that. I’m handy with my fins, [aside) I think 
that is what Phil calls them. 

Aug. Why, what do you mean ? 


MISS MADCAP. 


9 

Clara, {aside) Now for it. {grabs Augustus by the collar) Stand 
up. I’ll show you. {squares off) Now put up your flippers. 

Aug. Good gwacious! 

Clara. Mind your eye ! {he retreats; she follows, striking at him) 

Aug. Stop ! Murdah ! Police ! 

Enter, Phil, smoking, d. f. 

Phil, {grabbing Augustus, and running him l., front) So, dat’s 
yer game is it, cully ? 

Aug. Go ’way from me—go ’way! You wude, wough man! 

Phil, {releasing him) Well, snipey, wot’s yer fightin’ der lady 
fer ? 

Aug. The lady was fighting me. 

Phil. Look yere cully, dat’s too thin. Don’t give us none er 
yer guff—oi whatter yer say ? 

Aug. Bah Jove, she was, and she mussed me all up, too. 

Phil. Soy, ole gal, is dat so ? 

Clara. Yes. (Phil goes to her) I was teaching him to use his, 
{aside) What do you call ’em ? 

Phil, [aside) Mawleys—fins—flippers—dukes. 

Aug. Ya—as. And she stwuckme in the nose too, so she did. 

Clara, {aside) How am I doing ? 

Phil, {aside) Splendidly, {aloud) So, yer wus givin’ his jags 
over dere a lesson in de manly art, eh ? I soy, nibsy, {to Augustus) 
ain’t she a plum, eh? 1 learned her how ter use her dukes. Bet 
yer a dollar she kin smash yer in der mug every time. See ? 
{converses with Clara) 

Aug. But you mustn’t let hah do it, don’t you know, {aside) 
Whew ! This making a fool of myself is hard work. 

Clara, {aside to Phil) I guess he’s about ready to give up. 

Phil, [to Clara) Shouldn’t wonder, {aloud) I soy, girly, you’re 
too sweet ter live. Give us erkiss. ( kisses Clara) 

Aug. Aw—I say now—I cawn’t allow that, don’teller know. 

Phil. Soy, whatter yer givin’ us ? Want me ter smash yer? I 
kin do it wid me one hand. See ? 

Clara. Oh Phil, don’t hurt him! He’s to be my husband. 

Phil. What ! Dat thing ? Oh come off der roof ! 

Clara. It’s so. 

Aug. Ya—as. But I won’t have that fellow around. He’s a 
wude, wough man. He must go away. 

Clara. No he won’t. I couldn’t live without Phil. 

Aug. But don’tcher know- 

Phil. Ah there ! Muzzle yer mug. I’m a fixture here. See ? 

Aug. {resignedly) All wight. 

Clara, {to Phil) He agrees to everything. I’m getting desperate. 



10 


MISS MADCAP. 


Phil. I’ll tell you what; let’s pretend to get tight; I’ve a bottle 
here. 

Clara. What is in it ? 

Phil. Cold tea. 

Clara. I can’t do that. 

Phil. Then I will, [to Augustus) Soy, spider legs—have a 
drink ? 

Aug. Aw—what is it ? 

Phil. Torchlight whiskey ; a reg’lar ole rough on rats. 

Aug. Excuse me. I’m afwaid it would affect me bwain. 

Phil. Yer wot? 

Aug. Me bwain. 

Phil. Soy, cull, yer can’t snap dat racket on us. Not muchly. 
Brains don’t wear dem sorter clothes. Hev a swig, girly ? 

Clara, [aside) What shall I say ? 

Phil, [aside) I should gently murmur. 

Clara. I should gently murmur, [drinks) 

Aug. Goodness gwacious ! 

Phil. Here’s luckin’ at ye. [drinks) Hooray! Uat’s der stuff! 
Have another, ole man. Don’t care if I do. [drinks) Dat’s de 
pizen ! [drinks) 

Aug. He’ll be dwunk if you don’t look out. 

Phil. Who’s drunk—soy? Don’t you insult me, nibsy. 
[drinks) 

Clara, [to Augustus) Never mind him. He loads up every day. 
Aug. Aw—aw there any moah like him around heah ? 

Clara. Lots. This is a temperance town. (Phil drinks) 

Phil, [tipsy) Yesser—whoop ! Mister Chairman—Misser—ic— 
Misser Chairman an’ ladies an’ gen’lemen of der jury. I’m er 
bad man from der cross roads, an’ me name is Mud. I eat fire, 
an’ I swaller brimstone ! ’Rah! Who wants ter fight! [sings) 

We’re goin’ ter git married, ha, ha, mamma ! 

We’re goin’ ter git married— 

oi whatter yer say ! 

Aug. [aside, natural voice) I’m getting disgusted. 

Phil. Let’s have er dance. Choose yer partners ! 

Clara, [to Augustus) Don’t provoke him. He’s dangerous when 
he’s drunk. 

Aug. Aw—but I guess I’ll go home, don’tcher know. 

Clara. And leave me ? 

Aug. Ya—as. 

Clara, [sobbing) Oh you cru—cru—cruel man. 

Phil. No—ic—no yer don’t, cully. You’s gotter marry dat gal. 
See ? 




MISS MADCAP. 


11 

Aug. But I cawn’t do it, you know, [aside, natural voice') Hang 
the fortune ! My little game won’t work. 

Phil. Soy, maybe you hes er notion dere’s flies on me. 

Aug. Ya—as. 

Phil. Whatter yer soy ? 

Aug. [assumedfright ) Oh no, no. Of cawse not. 

Clara. Then you refuse to marry me ? 

Aug. Ya—as—if you will pawmit. 

Clara. ( sobbing ) It’s too boo—hoo—bad, so now ! 

Phil. You’s er nice duck, breakin’ der leddy’s heart dis way. 

Aug. Sawy, don’tcher know, but it cawn’t be helped. 

Clara. Then sit down and write as I bid you. 

Aug. Aw—eh ? 

Clara. Sit down! 

Phil. Squat! 

Aug. Ye—ya—as. 

Clara. Write : “I, Augustus Everson, of my own free will, 

refuse to marry Miss Clara Vincent (Augustus writes ) Sign your 
name. Now, Phil, sign with me as witness. 

Phil, [speaks naturally ) Certainly, [signs] I rather thought you 
would do this. 

Aug. [natural voice, indignantly) What’s this ? Have you been 
trying to make a fool of me ? 

Phil. Exactly. 

Clara. Exactly. But, my dear cousin, we are willing to treat 
you fairly. Aren’t we, Phil? 

Phil. Indeed we are. 

Clara. So I will make you an offer. If you will agree to drop 
your baby talk, speak good English, dress like a rational human 
being- 

Phil. In short, if you will sink the dude- 

Clara. I will divide my aunt’s fortune equally with you. Won’t 
we Phil ? 

Phil. Certainly. Do you agree ? 

Aug. With all my heart. 

Phil. You may find it difficult- 

Aug. Not at all; for I, too, was acting a part. 

Clara. ( astonished) What! 

Aug. Fact, I assure you. I’m no dude, thank heaven. The 
truth is that I am already engaged to be married. I had never 
seen you and I naturally imagined that you were an unsophisticated 
country girl, who would thoroughly despise a dude. Therefore I 
adopted this outlandish rig, hoping you would refuse me. I 
never imagined that you, too, could act a part, which, by the way, 
you have done to perfection. 

Phil. (R. ) So it appears that we were all in a fog. 





12 


MISS MADCAP . 


Aug. Yes—it was diamond cut diamond ; but I had my revenge, 
for remember, ( laughing) it was / who refused ^ 0 //. 

Clara. Oh, horrors! But don’t you tell anybody. 

Aug. (l.) Not a syllable. 

Clara, (c.) And don’t you, either. (shaking finger at audience) 
I don’t mind having you see me play the tomboy, but, if every¬ 
body knew it, people might think that my name should really 
be- 

All. Miss Clara Vincent—Madcap ! 

Clara. 


Phil. 


Aug. 


CURTAIN. 





NEW PLAYS. 


PRICE, 15 CENTS EACH. 

MURDER WILL OUT. A farce in one act, for six female characters, by L. M. 
Elvvyn. Time of playing, 30 minutes. A breezy and effective farce, in which 
half a dozen bright girls can delight an audience with half an hour of innocent 
fun. Grandmother Stiles, and her demure but frolicsome grand-daughter, arc 
excellent characters ; Dinah , the colored cook, is amusing, and Bridget O' Flaherty 
is a funny Irish girl—her quarrels with Dinah being exceedingly laughable. The 
attempts of Lena and her merry friends, May and Minnie , to hoodwink the old 
1 idy, and their final exposure, will keep the audience in a roar of laughter. 

OLD CRONIES. A comedietta in one act, for two male characters, by S. Theyre 
Smith. Time of playing, 30 minutes. This is an unusually bright and clever 
little play, in which a couple of comedians can furnish a half-hour of pure, 
unrestricted fun. Dr. Jacks , the mild-mannered old gentleman, is in happy 
contrast with Capt. Pigeon, a bluff, gruff and noisy old sea officer. Both are 
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a most acceptable afterpiece, and, if at all well done, can not fail to send the 
audience home in good humor. 

APRIL FOOLS. A farce in one act, for three male characters, by W. F. Chap¬ 
man. Time of playing, 30 minutes. For a half-hour of roaring fun this farce has 
few equals. It is brisk, bright, and full of highly humorous situations. The 
characters are exceedingly well drawn—the nervous Mr. Dunnbrowne forming a 
marked'contrast to the loud James Smith, and both differing widely from the 
sad and sorrowful Joseph Smith. Each imagines that the others are foolish, 
crazy or drunk. There are laughable blunders and side-splitting complications. 
Misunderstandings follow one another in rapid succession, and the mystery grows 
deeper and still deeper. Finally, when everybody gets into a hopeless tangle, h 
is discovered that ail three are victims of a practical joker, who has made them 
“April Fools.” 

MISS MADCAP. A comedietta in one act, by Charles Townsend, for two male 
and one female characters. Time of playing, 20 minutes. This bright and 
breezy little play sparkles like champagne, and is just the thing for a curtain- 
raiser or an afterpiece. The story is well told, and the characters are well drawn. 
The youth who pretends to be a “ tough,” the young man who pretends to be a 
“ dude,” and the young lady who pretends to be a “ tomboy,” all give scope for 
excellent acting. The piece has been played with pronounced success under the 
author’s management. 

THE DARKEY WOOD DEALER. A farce in one act, by Charles Townsend, 
for two male and one female characters. Time of playing, 20 minutes. A 
ro'ring farce in this author’s happiest vein, totally unlike the ordinary “Ethi¬ 
opian” plays. Each character is first-class. The “wood-dealer,” beyond doubt, 
is one of the best negro parts on the stage. The Deacon is a highly-amusing 
old man, and Mrs. Deacon (this part may be played by a young man), a tremen¬ 
dous hit as a “strong-minded” female. This farce is certain to keep an aud'ence 
in a roar, and has proved a sure hit as played under the author’s management. 


AN OLD PLANTATION NIGHT. 

PRICE, 25 CENTS. 

A musical and dramatic entertainment for four male and four female characters, 
forming a double quartet. This is not a negro minstrel show, contains no boisterous 
jokes nor conundrums, and is without a vestige of “Tambo” orBones,” or the 
conventional stage darkey. It is a simple but vivid representation of life “ in de 
quarters,” embellished with song and sto'y illustrating some of the quaint super¬ 
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Synopsis: Uncle ’Rastus and Thomas Jefferson.—“ Befo 1 de Wah.”—“Swing 
Low, Sweet Chariot.”—An influx of visitors.—Aunt Marthy’s Story of the little 
possum.—The rabbit cross.—Limber Jim.—The Sunflower Song.—The stylishness of 
some folks.— The little white goat on the mountain.—“The Gospel Train.”—Polly 
and the screech-owl.—A husking bee.—The Corn Song.—Little Aaron’s battlements. 
—Ol d Da n Tucker. 

J-W” Copies of the above will be mailed, post-paid, to any address, on receipt 
of the specified prices. 

HAROLD ROORBACH, Publisher, 9 Murray St., New York. 



UNCLE TOM’S CABIN (NEW VERSION.) 

A MELODRAMA IN FIVE ACTS, BY CIIAS. TOWNSEND. 

PRICE, 15 CENTS. 

Seven male, five female characters (some of the characters play two parts). 
Time of playing, 2% hours. This is a new acting edition of a prime old favorite, 
so simplified in the stage-setting as to be easily represented by dramatic clubs and 
travelling companies with limited scenery. Uncle Tom’s Cabin is a play that never 
grows old ; being pure and faultless, it commands the praise of the pulpit and sup¬ 
port of the press, while it enlists the favor of all Christians and heads of families. It 
will draw hundreds where other plays draw dozens, and therefore is sure to fill any hal . 

Synopsis of Incidents: Act I. — Scene I. — The Shelby plantation in Kentucky. — 
George and Eliza.—The curse of Slavery.—The resolve.—Off for Canada.—“ I won’t 
be taken—I’ll die first.”—Shelby and Haley.—Uncle Tom and Harry must be sold.— 
The poor mother.—“Sell my boy!”—The faithful slave. Scene II .—Gumption 
Cute.—“By Gum ! ”—Marks, the lawyer.—A mad Yankee.—George in disguise.—A 
friend in need.—The human bloodhounds.—The escape.—“ Hooray fer old Var- 
mount ! ” 

Act II.—St. Clare’s elegant home.—The fretful wife.—The a.rrival.—Little Eva.—• 
Aunt Ophelia and Topsy.—“ O, Golly! I’se so wicked!”—St. Clare’s opinion.— 
“ Benighted innocence.”—The stolen gloves.—Topsy in her glory. 

Act III.—The angel child.—Tom and St. Clare.—Topsy’s mischief.—Eva’s re¬ 
quest.— The promise.—pathetic scene.—Death of Eva.—St. Clare’s grief.—” For thou 
art gone forever.” 

Act IV. —The lonely house.—Tom and SC Clare.—Topsy’s keepsake. — Deacon 
Perry and Aunt Ophelia.—Cute on deck.—A distant relative.—The hungry visitor.— 
Chuck full of emptiness.”—Cute and the Deacon.—A row.—A fight.—Topsy to the 
rescue.—St. Clare wounded.— Death of St. Clare.—“ Eva—Eva— I am coming ” 

Act V.—Legree’s plantation on the Red River.—Home again.—Uncle Tom’s 
noble heart.—“My soul ain’t yours, Mas’r.”—Legree's cruel work.— Legree and Cassy. 
—The white slave.—A frightened brute.—Legree’s fear.—A life of sin.— Marks and 
Cute. — Anew scheme. — The dreadful whipping of Uncle Tom.—Legree punished at 
last.—Death of Uncle Tom.—Eva in Heaven. 


THE WOVEN WEB. 

A DRAMA IN FOUR ACTS , BY CHAS. TOWNSEND. 

PRICE, 15 CENTS. 

Seven male, three female characters, viz.: leading and second juvenile men, so¬ 
ciety villain, walking gentleman, eccentric comedian, old man, low comedian, leading 
juvenile lady, soubrette and old woman. Time of playing, z ’’hours. 'I T Woven "sb 
is a flawless drama, pure in thought and action, with excellent characiers, and pre¬ 
senting no difficulties in costumes or scenery. The story is captivating, with a plot 
of the most intense and unflagging interest, rising to a natural climax of wonderful 
power. The wit is bright and sparkling, the action terse, sharp and rapid. In touch¬ 
ing the great chord of human sympathy, the author has expended that rare skill 
which has given life to every great play known to the stage. This play has been 
produced under the author’s management with marked success, and will prove 
an unquestionable attraction wherever presented. 

Synopsis of Incidents: Act I.—Parkhurst & Manning’s law office, New York. 
—Tim’s opinion.—The young lawyer.—“ Majah Billy Toby, sah ! ”—Love and law. 
—Bright prospects.—Bertha’s misfortune.—A false Iriend.—The will destroyed.—A 
cunning plot.—Weaving the web.—The unseen witness.—The letter.—Accused.— 
Dishonored. 

Act II.—Winter quarters.—Colonel Hastings and Sergeant Tiin.—Moses.—A 
message.—Tim on his dignity.—The arrival.—Playing soldier.—The secret.—The 
promise.—Harry in danger.—Love and duty.—The promise kept.—“ Saved, at the 
loss of my own honor ! ” 

Act III.—Drawing-room at Falconer’s.—Reading the news.—“ Apply to Judy ! ” 
—Louise’s romance.—Important news.—Bertha’s fears.—Leamington’s arrival.— 
Drawing the web.—Threatened.—Plotting.—Harry and Bertha.—A fiendish lie.— hace 
to face.—“ Do you know him ? ”—Denounced.—“Your life shall be the penalty!”— 
Startling tableau. 

Act IV.—At Uncle Toby’s.—A wonderful climate.—An impudent rascal.— A bit 
of history.—Woman’s wit.—Toby Indignant.—A quarrel.—Uncle Toby's evidence.— 
Leamington’s last trump.—Good news.—Checkmated.—The telegram.—Breaking 
the web.—Sunshine at last. 

tAU Copies mailed, postpaid , to any address, on receipt the annexed prices. 






SAVED FROM THE WRECK. 

A DRAMA IN THREE ACTS, BY THOMAS K. SERRANO. 

PRICE, 15 CENTS. 


Eight male, three female characters: Leading comedy, juvenile man, genteel 
villain, rough villain, light comedy, escaped convict, detecuve, utility, juvenile 
lady, leading comedy lady and old woman. Two interior and one landscape scenes. 
Modern costumes. Time of playing, two hours and a half. The scene of the action 
is laid on the New Jersey coast. The plot is of absorbing interest, the “business” 
effective, and the ingenious contrasts of comic and serious situations present a con¬ 
tinuous series of surprises for the spectators, whose interest is increasingly maintained 
up to the final tableau. 

SYNOPSIS OF INCIDENTS. 

Act I. The Home of the Light-house Keeper. —An autumn afternoon.— 
The insult.—True to herself.—A fearless heart.—The unwelcome guest.—Only a 
foundling.—An abuse of confidence.—The new partner.—The compact.—The dead 
brought to life.—Saved from the wreck.—Legal advice.—Mairied for money.—A 
golden chance.—The intercepted letter.—A vision of wealth.—The forgery.—Within 
an inch of his life.—The rescue.— Tableau. 

Act II. Scene as before; time, night.—Dark clouds gathering.—Changing 
the jackets.—Father and son.— On duty.—A struggle for fortune.—Loved for himself. 
—The diviJed greenbacks.—The agreement.—An unhappy life.—The detective’s mis¬ 
take.—Arrested.—Mistaken identity.—The likeness again.—On the right track—The 
accident.—“Will she be saved?”—Latour’s bravery.—A noble sacrifice.—The secret 
meeting.—Another case of mistaken identity.—The murder.—“ Who d d it ? ”—Tne 
torn cuff.—“There stands the murderer!”—“’Tis false!”—The wrong man mur¬ 
dered.—Who was the victim ?— Tableau. 

Act III. Two Days Later. —Plot and counterplot.—Gentleman and convict.— 
The price of her life.—Some new documents.—The divided banknotes.—Sunshine 
through the clouds.—Prepared for a watery grave—Deadly peril.—Father and daugh¬ 
ter.—The rising tide.— A life for a signature.—True unto death.—Saved.—The mys¬ 
tery solved.—Denouement. —T ableau. 


BETWEEN TWO FIRES. 

A COMEDY-DRAMA IN THREE ACTS, BY THOMAS K. SERRANO. 

PRICE, 15 CENTS. 

Eight male, three female, and utility characters: Leading juvenile man, first and 
second walking gentleman, two light comedians (lawyer and foreign adventurer), 
Dutch and Irish character comedians, villain, soldiers ; leading juvenile lady, walk¬ 
ing lady and comedienne. Three interior scenes ; modern and military costumes. 
Time of playing, two hours and a half. Apart from unusual interest of plot and skill 
of construction, the play affords an opportunity of representing the progress of a 
real battle in the distance (though this is not necessary to the action). The comedy 
husines; is delicious, if well worked up, and a startling phase of the slavery question 
is sprung upon the audience in the last act. 

SYNOFSIS OF INCIDENTS. 

Act I. At Fort Lee, on the Hudson. —News from the war.—The meeting. 
—The c. lonel’s strange romance.—Departing for the war.—The intrusted packet.—An 
honest man.—A last request.—Bitter hatred.—The dawn of love.— A northerner’s 
sympathy for the South.—Is he a traitor ?—Held in trust.—La Creole mine for sale.— 
Financial agents.—A brother’s wrong.—An order to cross the enemy's lines.—For¬ 
tune’s fool.—Love’s penalty.—Man’s independence.—Strange disclosures.—A sha¬ 
dowed life.—Beggared in pocket, and bankrupt in love.—His last chance.—The re¬ 
fusal. — Turned from home. — Alone, without a name — Off to the war. —Tableau. 

Act II. On the Battlefield. —An Irishman’s philosophy.—Unconscious of 
danger.—Spies in the camp.—The insult.—Risen from the ranks.—The colonel’s prej¬ 
udice.—Letters from ho ne. —The plot to ruin.— A token of love.—True to him.— 
The plotters at work.—Breaking the seals.—The meeting of husband and wife.—A 
forlorn hope.—Doomed as a spy.—A struggle for lost honor.—A soldier’s death.— 
Tableau. 

Act III. Before Richmond. —The home of Mrs. De Mori.—The two docu- 
ments ._A little misunderstanding.—A deserted wife.—The truth revealed.—Brought 
to light.—Mother and child.—Rowena’s sacrifice.—The American Eagle spreads his 
wings.— The spider’s web.—True to himself.—The reconciliation.—A long divided 
home reunited.—The close of the war.— Tableau. 


Copies mailed , postpaid, to any address , on receipt of the annexed prices. ^SA 






H. THEYRE SMITH’S PLAYS. 

Price, 15 Cents Each. 

A CASE FOR EVICTION. One male and two female characters—light comedian, 
lady comedian and servant. Interior scene ; modern costumes ; time of playing, 
thirty minutes. This breezy little play is so true to life that everybody enjoys it 
and, as a matter of course, it is always highly successful. A young husband and 
wife have a visitor who makes them twice glad—glad when he comes and doubly 
glad when he goes. The difficulties that the young couple experience in getting 
rid of their guest, without hurting his feelings, are laughable in the extreme. 
The guest, by the way, is heard but not seen —which fact gives rise to much 
comic 1 business. No scenery whatever is required; and as every-day costumes 
are worn, the piece can be produced successfully without the slightest trouble. 

CUT OFF WITH A SHILLING. Two male and one female characters— 
juvenile man, old man and lady comedian. Scene, a sitting-room ; modern cos¬ 
tumes ; time of playing, forty-five minutes. An exceedingly popular play, offering 
unusual opportunities for good acting. A young man who has married without 
his uncle’s consent is cut off with a shilling. But the uncle meets, his nephew’s 
wife—not knowing who she is—and is so captivated by her wit, grace and beauty 
that, on learning who she is, he changes his mind, reinstates his nephew and 
allows the latter to return the shilling. The dialogue is witty, the action rapid, 
and the situations effective. 

A HAPPY PAIR. One male, one female character—both light comedy'. Scene, a 
nicely furnished room ; modern costumes ; time of playing, forty-five minutes. A 
brisk little play, full of action and giving numerous opportunities for clever work. 
While entirely free from all “low-comedy” business, it contains enough humor 
to be highly' diverting. The quarrels of the “happy pair,” and their final recon¬ 
ciliation can not fail to please, and the play is sure to give entire satisfaction 
cither in the parlor or as a “ curtain raiser” or afterpiece. 

MY LORD IN LIVERY. Four male and three female characters—light comedian, 
low comedian, old man, utility, lady comedian and two walking ladies. Parlor 
scene ; modern costumes ; time of playing, fifty minutes. An unusually bright 
piece brimming over with wit and humor. The three young ladies who permit a 
comic servant to meet them on terms of equality under the belief that he is a 
nobleman masquerading like themselves—the happy-go-lucky young nobleman 
who is mistaken for a burglar—the comical old butler—all have a vast deal of 
laughable by-play and business. This play was a pronounced success in New 
York, and has been presented to crowded houses in all the principal cities of this 
country. The ease with which it may be staged, and the invariable success which 
attends it, make My Lord in Livery peculiarly adapted to the use of amateur!. 

UNCLE’S WILL. Two male and one female characters—juvenile lead, rid man 
and lady comedian. Scene, a sitting-room ; costumes, modern ; time of playing, 
thirty minutes. This brilliant little play is a prime favorite in both Europe and 
America, and is admirably adapted to the use of amateurs. The wit flashes 
like a diamond, and the dainty bits of humor scattered here and there keep up a 
constant ripple of pleased excitement. Each character is a star part. The dash¬ 
ing y'oung naval officer, the comical old man—in which Mr. Davidge made a 
pronounced hit at the Fifth Avenue Theatre, New York—and the bright and 
spirited young lady, all are first class and worthy of the best talent in any dramatic 
club. 

WHICH IS WHICH. Three male, three female characters—juvenile man, old 
man, utility, two juvenile ladies and old woman. Scene, a studio ; costumes, 
modern ; time of playing, fifty minutes. Excellent and much patronized by 
amateurs. The amusing perplexities of the poor artist, who can not tell which of 
his visitors is the heiress and which her penniless friend—who mistakes one for 
the other—who makes love to the rich girl, supposing that she is poor, and deter¬ 
mines to marry her in spite of her supposed poverty—and who finally discovers 
that he has proposed to the heiress after all—combine to make this a delightful 
play. 


Any of the above will be sent by mail , postpaid , to any address, on receipt 
of the annexed prices. As there are several editions of these plays offered for sale , 
good , bad and indifferent , purchasers will consult their own interests , when order- 
ing, by specifying Roorback’s edition. 

HAROLD ROOBACH, Publisher, 9 Murray St, New York. 



NEW ENTERTAINMENTS. 

THE JAPANESE WEDDING. 

A costume pantomime representation of the Wedding Ceremony in Japanese high life. 
The company consists of the bride and groom, their parents, six bridesmaids, and 
the. officiating personage appropriately called the “Go-between.” There are 
various formalities, including salaams, tea-drinking, eating rice-cakes, and giving 
presents. No words are spoken. The ceremony (which occupies about 50 
minutes), with the “ tea-room,” fills out an evening well, though music and other 
attractions may be added. Can be represented by young ladies alone, if preferred. 
Price, 25 Cents. 

AN EVENING WITH PICKWICK. 

A Literary and Dramatic Dickens Entertainment.—Introduces the Pickwick Club, 
the Wardles of Dingley Dell, the Fat Boy, Alfred Jingle, Mrs. Leo Hunter, Lord 
Mutanhed and Count Smorltork, Arabella Allen and Bob Allen, Bob Sawyer, Mrs. 
and Master Bardell, Mrs. Cluppins, Mrs. Weller, Stiggins, Tony Weller, Sam 
Weller, and the Lady Traveller. Price, 25 cents. 

AN EVENING WITH COPPERFIELD. 

A Literary and Dramatic Dickens Entertainment.—Introduces Mrs. Copperfield, 
Davie, the Peggotys, the Murdstones, Mrs. Gummidge, Little Em’ly, Barkis, 
Betsey Trotwood, Mr. Dick and his kite, Steerforth, the Creakles, Traddles, 
Rosa Dartle, Miss Mowcher, Uriah Heep and his Mother, the Micawbers, Dora 
and Gyp, and the wooden-legged Gatekeeper. Price, 25 cents. 

These “ Evenings with Dickens ” can be represented in whole or in part, require 

but little memorizing, do not demand experienced actors, are not troublesome to pre¬ 
pare, and are suitable for performance either on the platform or in the drawing room. 

THE GYPSIES’ FESTIVAL. 

A Musical Entertainment for Young People. Introduces the Gypsy Queen, Fortune 
Teller, Yankee Peddler, and a Chorus of Gypsies, of any desired number. The 
scene is supposed to be a Gypsy Camp. The costumes are very pretty, but 
simple ; the dialogue bright ; the music easy and tuneful; and the drill movements 
and calisthenics are graceful. Few properties and no set scenery required, so 
that the entertainment can be represented on any platform. Price, 25 cents. 

THE COURT OF KING CHRISTMAS. 

A CHRISTMAS ENTERTAINMENT. The action takes place in Santa Claus 
land on Christmas eve, and represents the bustling preparations of St. Nick and 
his attendant worthies for the gratification of all children the next day. The cast 
may include as many as 36 characters, though fewer will answer, and the enter¬ 
tainment represented on a platform, without troublesome properties. The cos¬ 
tumes are simple, the incidental music and drill movements graceful and easily 
managed, the dialogue uncommonly good, and the whole thing quite above the 
average. A representation of this entertainment will cause the young folks, from 
six to sixty, fairly to turn themselves inside out with delight, and, at the same 
time, enforce the important moral of Peace and Good Will. Price, 25 cents. 

RECENTLY PUBLISHED. 

ILLUSTRATED TABLEAUX FOR AMATEURS. A new series of Tableaux 
Vivants , by Martha C. Weld. In this series each description is accompanied 
with a full-page illustration of the scene to be represented. _ • 

PARI’ I.—MISCELLANEOUS TABLEAUX.—Contains General Introduction, 
12 Tableaux and 14 Illustrations. Price, 25 Cents. 

PART II.—MISCELLANEOUS TABLEAUX.—Contains Introduction, 12 Ta¬ 
bleaux and i2 illustrations. Price, 25 Cents. 

SAVED FROM THE WRECK. A drama in three acts. Eight male, three 
female characters. Time, two hours and a half. Price, 15 Cents. 

BETWEEN TWO FIRES. A comedy-drama in three acts. Eight male, three 
female characters. Time, two hours and a half. Price, 15 Cents. 

BY FORCE OF IMPULSE. A drama in five acts. Nine male, three female 
characters. Time, two hours and a half. Price, 15 Cents. 

A LESSON IN ELEGANCE. A comedy in one act. Four female characters. 
Time, thirty minutes. Price, 15 Cents. 

WANTED, A CONFIDENTIAL CLERK. A farce in one act. Six male 
characters. Time, thirty minutes. Price, 15 Cents. 

SECOND SIGHT. A farcical comedy in one act. Four male, one female charac¬ 
ter. Time, one hour. Price, 15 Cents. 

THE TRIPLE WEDDING. A drama in three acts. Four male, four female 
characters. Time, one hour and a quarter. Price, 15 cents. 

XftCA ny o f the aboz’e will be sent by mail , postpaid, to any address , on receipt 

0/the annexed t>rices. 

HAROI.D ROORBACH, Publisher, 9 Murray St., New York. 


LIBRARY OF CONGRESS 




HELP 

ACTOR’S M A "0 , "0i8'' ,, 60 , 4 , '080'"6 

4 Pract ical and Systematic Guide to the Art of Making up for the Stage,, 



PRICE, 25 CENTS. 


With exhaustive treatment on the Use of Theatrical 
Wigs and Beards, The Make-up and its requisite materials, the 

DIFFERENT FEATURES AND THEIR MANAGEMENT, TYPICAL CHARACTER. 

Masks, etc. With Special Hints to Ladies. Designed for the 
use of Actors and Amateurs, and for both Ladies and Gentle¬ 
men. Copiously Illustrated. 

CONTENTS. 

I. Theatrical Wigs. —The Style and Form of Theatrical Wigs 
and Beards. The Color and Shading of Theatrical Wigs and Beards. 
Directions for Measuring the Head. To put on a Wig properly. 

II. Theatrical Beards. —How to fashion a Beard out of crep6 
hair. How to make Beards of Wool. The growth of Beard simu¬ 
lated. 

III. The Make-up. —A successful Character Mask, and how to 
make it. Perspiration during performance, how removed. 

IV. The Make-up Box.—Grease Paints. Grease paintL in 
sticks; Flesh Cream; Face Powder; Howto use face powder as a 
liquid cream ; The various shades of face powder. Water Cos- 
m6tique. Nose Putty. Court Plaster. Cocoa Butter. Cr£p6 Hair 
.and Prepared Wool. Grenadine. Dorin’s Rouge. “Old Man’s" 
Rouge. “Juvenile” Rouge. Spirit Gum. Email Noir. Bear’s 
Grease. Eyebrow Pencils. Artist’s Stomps. Powder Puffs. Hares* 
Feet. Camels’-hair Brushes. 

V. The Features and their Treatment. —The Eyes; blind¬ 
ness. The Eyelids. The Eyebrows : How to paint out an eyebrow or 
moustache ; How to paste on eyebrows ; How to regulate bushy eye¬ 
brows. The Eyelashes ; To alter the appearance of the eyes. The 
Ears. The Nose : A Roman nose; How to use the nose putty; A 
pug nose ; An African nose; a large nose apparently reduced in size* 
The Mouth and Lips ; a juvenile mouth ; an old mouth ; a sensuous 
mouth; a satirical mouth; a one-sided mouth; a merry mouth ; A 
sullen mouth. The Teeth. The Neck, Arms, Hands and Finger¬ 
nails ; Fingernails lengthened. Wrinkles: Friendliness and Sullen¬ 
ness indicated by wrinkles. Shading. A Starving character. A 
Cut in the Face. A Thin Face Made Fleshy. 

VI. Typical Character Masks. —The Make-up for Youth: 
Dimpled cheeks. Manhood. Middle Age. Making up as a Drunk¬ 
ard : One method ; another method. Old Age. Negroes. Moors. 
Chinese. King Lear, Shylock, Macbeth. Richelieu. Statuary. 
Clowns. 

VII. Special Hints to Ladies. —The Make-up. Theatrical 
Wigs and Hair Goods. 

Sent by mail, postpaid, to any address, on receipt of the price. 

HAROLD ROORBACH, Publisher, 

9 Murray Street, New York. 

















